The ACHILLITO CHIESA & 
COLLECTION ° + Part I 


ITALIAN PRIMITIVES AND | 
- RENAISSANCE PAINTINGS _ 


AMERICAN ART ASSOCIATION : INC. 
New York 


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EXHIBITION & UNRESTRICTED PUBLIC SALE AT THE 


AMERICAN ART GALLERIES 


MADISON AVENUE ° 561TH ¢o 57TH STREET 
NEW YORK 


HE Achillito Chiesa Collection , Part II 
_ Paintings , Catalogue Numbers 1-59 
Will Be Sold on Friday Evening, April 
Poero2o,-at 5:20 20) Glock time t (707 
The Collection Will Be On Free Public 
View from Sunday, April 11, Until Time 
of Sale » Weekdays 9g a.m. to 6 p.m. 

Sunday from 2 to 5 p.m. 


Sales Conducted By Mr. O. Bernet and Mr. H. H. Parke 
AMERICAN ART ASSOCIATION - INC. 


Managers 


CONDITIONS OF SALE 


I. REJECTION OF BIDS: Any bid which is not commensurate with the value 
of the article offered, or which is merely a nominal or fractional advance, may be 
rejected by the auctioneer if in his judgment such bid would be likely to affect the 
sale injuriously, 

II. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up 
for re-sale the lot so in dispute. 


III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of 
each lot shall be given immediately on the sale thereof, and when so required, each 
buyer shall sign a card giving the lot number, amount for which sold, and his or her 
name and address. 

A deposit at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so pur- 
chased may at the option of the auctioneer be put up again and re-sold. 


IV. RISK AFTER PURCHASE: ‘Title passes upon the fall of the auctioneer’s 
hammer, and thereafter the property is at the purchaser’s risk, and neither the consignor 
nor the Association is responsible for the loss of, or any damage to any article by theft, 
fire, breakage, however occasioned, or any other cause whatsoever. 


V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only 
upon payment of the total amount due for all purchases at the sale. 


VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a re- 
ceipted bill. A receipted bill presented by any person will be recognized and honored 
as an order by the buyer, directing the delivery to the bearer of the goods described 
thereon. If a receipted bill is lost before delivery of the property has been taken, the 
buyer should immediately notify the Association of such loss. 


VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALL- 
ING FOR GOODSs: Articles not paid for in full and not called for by the purchaser or 
agent by noon of the day following that of the sale may be turned over by the Asso- 
ciation to some carter to be carried to and stored in some warehouse until the time 
of the delivery therefrom to the purchaser, and the cost of such cartage and storage 
and any other charges will be charged against the purchaser and the risk of loss or 
damage occasioned by such removal or storage will be upon the purchaser. 

In any instance where the purchase bill has not been paid in full by noon of the 
day following that of the sale, the Association and the auctioneer reserve the right, 
any other stipulation in these conditions of sale notwithstanding, in respect to any or 
all lots included in the purchase bill, at its or his option, either to cancel the sale 
thereof or to re-sell the same at public or private sale without further notice for the 
account of the buyer and to hold the buyer responsible for any deficiency and all losses 
and expenses sustained in so doing. 

VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, but the Association will, however, afford 
to purchasers every facility for employment at current and reasonable rates carriers 


and packers; doing so, however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 


IX. GUARANTY: The Association exercises great care to catalogue every lot 
correctly and endeavors therein and also at the actual time of sale to point out any 
error, defect or imperfection, but guaranty is not made either by the owner or the 
Association of the correctness of the description, genuineness, authenticity or condition 
of any lot and no sale will be set aside on account of any incorrectness, error of cata- 
loguing or imperfection not noted or pointed out. Every lot is sold “as is’ and with- 
out recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may there- 
after sell the lot as catalogued or make mention of the opinion of such expert, who 
thereby will become responsible for such damage as might result were his opinion 
without foundation. 

X. RECORDS: The records of the auctioneer and the Association are in all 
cases to be considered final and the highest bid shall in all cases be accepted by both 
buyer and seller as the value against which all claims for losses or damage shall lie. 


XI. BUYING ON ORDER: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph, or telephone, if conditions per- 
mit, will be faithfully attended to without charge or commission. Any purchases so 
made will be subject to the foregoing conditions of sale, except that, in the event of 
a purchase of a lot or one or more books by or for a purchaser who has not through 
himself or his agent been present at the exhibition or sale, the Association will permit 
such lot to be returned within ten days from the date of sale, and the purchase money 
will be refunded, if the lot differs from its catalogue description. 

Orders for execution by the Association should be given with such clearness as 
to leave no room for misunderstanding. Not only should the lot number be given, 
but also the title, and bids should be stated to be so much for the lot, and when the 
lot consists of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit must be sent or reference submitted. Shipping directions should 
also be given. 

PRICED CATALOGUES: Priced copies of the catalogue, or any session thereof, 
will be furnished by the Association at charges commensurate with the duties involved 
in copying the necessary information from the records of the Association. 

These conditions of sale cannot be altered except by the auctioneer or by an 
officer of the Association. 


AMERICAN ART ASSOCIATION, Inc. 
MANAGERS 
OTTO BERNET 
HIRAM H. PARKE 


AUCTIONEERS 


NTRODUCTION 


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A FOREWORD 


T is unnecessary to repeat the history of the Chiesa Collection 

in detail, representing the combined efforts of the father and 

son over a period of many years. Achille Chiesa, the father, 

intended that the objects forming the collection should be 

given to the city of Milan as a permanent exhibit, and he 
had selected as a museum to hold the collection, the Palazzo Sola 
Serbelloni, called Casa Busca, one of the famous palaces in Milan 
and where Napoleon resided during his frequent visits to that city. 
After the death of his father, Achillito, the son, intended to continue 
what his father had begun, but on account of serious financial com- 
plications, due to the division of the large Chiesa Estate among 
several heirs, it was found impossible to carry out the original 
intention. It became necessary to liquidate debts that had been 
incurred in forming the collection. A syndicate was formed and 
incorporated under the name of 47s, in accordance with the Italian 
law. It is this syndicate that has placed in the hands of the Ameri- 
can Art Association for unrestricted public sale in this country, the 
entire Chiesa collection. 


Part II, paintings, comprises a group of about fifty examples of the 
primitive Tuscan School and of the masters of the Renaissance, 
each one worthy of the most careful attention. Many of these 
paintings are included in the catalogue of the Superior Commission 
of Fine Arts of the Italian Government as “historic objects of interest 
and artistic value” and as such they have been removed from Italy 
only with the greatest difficulty and after prolonged negotiations. 


Among the primitives especial mention must be made of the mag- 
nificent pala, St. John the Baptist, by Orcagna, formerly belonging 
to the private collection of Fairfax Murray, and considered one of 
the most beautiful works of the Master as well as one of the most 
remarkable works of the Florentine trecento; it is truly amazing in its 
force, its color and its preservation; also the polyptych of Bernardo 
Daddi, better known as the pala of the Rucellai, having come from a 
chapel belonging to the Rucellai family in the church of San Pancrazio 
in Florence, and the large panel given to Agnolo Gaddi. And too, 
of particular importance are the triptych of Pietro Lorenzetti, a 
brilliant example of Sienese art, also inventoried by the Superior 
Commission, an interesting triptych by the “Master of St. Cecilia,” 
and an attractive marriage plateau of the Florentine quattrocento, 
painted on both obverse and reverse. Passing to other schools and 
periods, there may be noted the Portrait of a Sicilian Patrician in 
Ecclesiastical Costume by Antonello da Messina. This important 


painting, which has been distinguished by mention in articles from 
the pens of the foremost art critics, is a recent “find” and an addition 
to the few rare works of this great Master. The central portion of 
the pala, of which this is one of the wings, portrays the Madonna 
and Child, and is in the Vienna Museum. 


The collection of Fairfax Murray included a wealth of important 
works, a number of which, after the death of the owner, were acquired 
by Signor Chiesa, and which served greatly to enhance the value 
and interest of his collection. Among those from this group are two 
marvelous cassone panels depicting the story of Perseus, given to 
Filippino Lippi; the tondo of Fra Bartolomeo and a beautiful example 
of Solario. The beautiful Crespi Madonna is attributed to 
Michelangelo, and has always been considered one of the important 
works of the Master. The Mater Amabilis of Correggio, the Holy 
Family and a superb Portrait of the Poet Meldolla, by Lotto (in the 
inventory of the Italian Government), a Palma Vecchio and a 
notable example by Vivarini are also among the Italian masterpieces. 
The foreign schools are represented by The Holy Family in a Land- 
scape by Van Der Weyden, and a Pieta by an Avignon master of the 
fifteenth century, of rare strength and feeling, and a valuable con- 
tribution to a collection of paintings which can only be described as 
one of the highest artistic and historic interest. 


AMERICAN ArT AssociaTion, INc. 


Catalogue edited by Mr. Ercole Canessa, who has had an intimate ac- 
quaintance with the Chiesa Collection over a period of many years. 


CATALOGUE 


FLORENTINE SCHOOL 


XV CENTURY 


I. MADONNA AND CHILD WITH SAINTS 


The enthroned Madonna, hooded and robed in crimson and blue, 
with the fully clothed Child upon her lap. On the left is St. John 
the Baptist, and to the right St. Anthony. 


Panel: Height, 14% inches; width, 9 inches. 


ANDREA PREVITALI 


Worked between 1502 and 1525, first emulating the 
style of Giovanni Bellini, and afterwards that of Lotto. 


2. A HOLY BISHOP (SAINT AUGUSTINE?) 


Seated, in an attitude of benediction, between Saint Mark and Saint 
Anthony; the three figures seen at half-length. 

This is a very fine example of the master’s work, being of his 
advanced period, and revealing the ecstatic emotions produced by 
the paintings of Giambellino supplemented by an animation inspired 
by Lorenzo Lotto. The picture is in a good state of preservation. 


Canvas: Height, 13% inches; length, 15 inches. 


MICHELE MARIESCHI 
VENETIAN: 1696—1743 


3. LANDSCAPE 


Fantastic view. In the middle distance a domed arcaded temple, 
having on the left prominent hills, and a facade of architectural dis- 
tinction; to the right, a river running from a mountainous source 
which is enveloped in a filmy haze. In the foreground are various 
small figures, those standing by the fallen tree gorgeously robed, the 
others in native costume; while an equestrian figure is seen approach- 
ing the river. A delightful work of charming atmosphere and per- 
spective. 

Height, 29 inches; length, 38 inches. 


MICHELE MARIESCHI 
VENETIAN: 1696—1743 


4. LANDSCAPE 


Fantastic view. ‘To the right is a ruined Romanesque-Renaissance 
structure having fine Corinthian pillars and capitals, which are over- 
grown with ivy; in the middle distance, the river flowing under a 
somewhat dilapidated bridge; on the near bank are various small 
figures of armored warriors; on the far bank, undulating landscape; 
a partly ruined arc, and on the summit of the hill a fortified chateau. 
An imaginative work portrayed in brilliant colors. 


Height, 29 inches; width, 38 inches. 


‘MARCO D’OGGIONO 


Born at Oggtono about 1470, a follower of Leonardo 
da Vinct. Died at Milan about 1549. 


5. ST. STEPHEN AND ST. BONAVENTURA (Two Panels) 


St. Stephen stands, in the garb of a deacon, praying, with the stones 
of his martyrdom on his head and shoulder. The background is a 
rocky landscape. St. Bonaventura is also standing, turned a little 
to the left, reading a book which he holds in his left hand; he wears 
his mitre, the habit of a Franciscan under his chasuble, and carries 
a crosier. At his feet is a cardinal’s hat. The two saints face one 
another. ‘The panels are evidently parts of a triptych, the middle 
portion of which is missing. 

Height, 58 inches; width, 28 inches. 


La Galleria Conte Bassi, 7-9 November, 1898. 


See: B. Berenson, “North Italian Painters of the Renatssance,” page 
275; 4.Venturi, “La Galleria Crespi di Milano,” Hoepli, 1900, 


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FLORENTINE SCHOOL 
First HALF XV CENTURY 


6. MADONNA AND CHILD 


Half-length figure of the Virgin Mother, holding the almost nude 
Infant in her arms. The background depicts a primitive landscape. 
In a fine state of preservation. 


Panel: Height, 20 inches; width, 15 inches. 


(Illustrated) 


No. 6. MADONNA AND CHILD 
FLORENTINE SCHOOL 


ENTHRONED MADONNA 
VENETIAN SCHOOL 


7 


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No 


VENETIAN SCHOOL 
XV-XVI CENTURY 


7, ENTHRONED MADONNA 


Robed in a green-blue mantle. Seated on her lap is the fully draped 
divine Infant holding an apple, and naively surveying the bird 
perched upon His Mother’s hand. Signed, Marcus Pinxit. In 


a beautifully carved tabernacolo frame of the period. 


Panel: Height, 37% inches; width, 20% inches. 


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8 HISTORICAL SUBJECT 


The incident represents a woman before a judge. 
are numerous equestrians, the figures portrayed 
istic energy of this master. A distant vista of 
adds effectively to this excellent small work. 


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By BERNARDO DA PARENZO 


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(Called PARENTINO) 


No. 9. MADONNA AND CHILD WITH SAINTS 
By GIOVANNI DAL PONTE 


GIOVANNI DAL PONTE 


Florentine: Active in the first half of the XV th Cen- 
tury. He was influenced by Masaccio (plastic qual- 


ity) and by Lorenzo Monaco (Gothicism). Phy 
9. MADONNA AND CHILD WITH SAINTS LM. 8,40. 


The ethereal Madonna enthroned, hooded and robed in a crimson 
tunic with a deep blue mantle, supporting the semi-draped Child 
Who plays with a bird; on the left is St. Bartolomeo in a crimson 
tunic with an ivory mantle and St. Francesco in the habit of his 
Order. 


Panel: Height, 26 inches; width, 13% inches. 


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‘BARTOLOMEO VIVARINI 


Born at Murano, 1430. Brother of Antonio and Al- 

vise Vivarinit, who were also painters, but of a very 

different temperament. Bartolomeo belongs to the 

great company of followers of Squarctone of Padua. 

Many of his paintings are dated (second half of the 
fifteenth century). Died 1499. 


10. PIETA 


Christ is seen emerging from the tomb, bearing the signs of the 
Passion. In the background the cross is seen, and at the sides, two 
angels appear in the clouds, kneeling in prayer. The painting might 
have formed the base of a picture, but its dimensions permit its being 
considered an independent work. In an excellent state of preserva- 
tion. 

Panel: Height, 19 inches; length, 29 inches. 


The Collection of Count Albani, Bergamo. 


See: A, Venturi, “La Galleria Crespi di Milano,” page 55, etc.; 
Lionello Venturi, “Le Origini della Pittura Veneziana,” page 
182, etc. : 


No. 10. PIETA 
By BARTOLOMEO VIVARINI 


11. THE CRUCIFIXION 
By SIMONE DA BOLOGNA 


No. 


« SIMONE DA BOLOGNA 
Bologna, XIV Century 


It, THE CRUCIFIXION 


Vigorous rendering of this subject. Our Lord is seen crucified be- 
tween the two thieves, with the symbolic pelican above; mounted, 
and other figures are seen on either side, with St. John supporting 
the distressed Mother. Very interesting frame, having cruciform 
pinnacles with representation of Christ and two saints. 


Panel: Height, 24 inches; width, 13% inches. 


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12. THE CRUCIFIXION 


Grouped about, with this master’s ends 
the three Marys, and St. John to ie right. i 4 


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THE CRUCIFIXION 
By PIETRO LORENZETTI 


No. 12. 


No. 13. TRIPTYCH: VIRGIN AND CHILD 
By LORENZO DA SAN SEVERINO 


LORENZO DA SAN SEVERINO 
ABOUT 1374—1420 


With his brother Jacopo of the Salimbent, Lorenzo 
was the principal exponent of art in the Marche for a 
generation preceding Gentile da Fabriano. 


13. TRIPTYCH: VIRGIN AND CHILD 


In the central panel is depicted the Virgin Mother enthroned with 
the Infant Christ; an angel kneels at her feet offering gifts. In the 
left panel a saintly mitred Bishop stands, slightly turned towards 
the Virgin. In the right panel Saint Christopher is represented 
bearing the Child Christ upon his shoulder and crossing the turbid 
stream. 

Height, 29 inches; length, 46% inches. 


Note: The principal reference work for the art of Lorenzo is his signed triptych in 
the Gallery of San Severino, compared with which this picture of the Chiesa Collection presents 
the same decorative style (which fundamentally characterizes the so-called international art 
of the beginning of the fifteenth century) although in a rather less accentuated form. One 
cannot say definitely whether this is the result of a diminished enthusiasm on the part of the 
master himself during a certain period, or the effect of his collaboration to a marked degree 
with his brother Jacopo. 


BARTOLOMEO CAPORALI 
Perugia, active 1472—1499. 


14. MADONNA AND CHILD 


Interesting human conception of the Virgin Mother, in fluctuating 
blue and crimson robes, with the nude Child Christ standing on 


her lap with His arms about her. 


Panel: Height, 23 inches; width, 18 inches. 


No. 14. MADONNA AND CHILD 
By BARTOLOMEO CAPORALI 


No. 15. MADONNA AND CHILD 
By PRIAMO DELLA QUERCIA 


PRIAMO DELLA QUERCIA 
SIENESE: XV CENTURY 


15. MADONNA AND CHILD 


The Virgin Mother, hooded and richly robed in crimson and blue, 
with the Child Christ, toward whom She is pointing with her first 
two fingers. In a fine state of preservation. 


Panel: Height, 19 inches; width, 15% inches. 


Note: A very characteristic work of the master. 


SQUARCIONE 


(ATTRIBUTED TO) 
XV CENTURY 


16. CHRIST BEFORE CAIAPHAS 


Caiaphas is depicted bearded and enthroned, robed in a pale crim- 
son mantle. The dignified figure of the Redeemer, robed in white 
with a green mantle, stands before him, flanked by and having behind 
him Roman soldiers, some galeated, others with spears and various 
regalia; St. Peter stands, incredulous, to the left. Gold background. 


Panel: Height, 15% inches; width, 13 inches. 


Note: The attribution is of an early date and was given before the picture left the 
collection of Signor Noseda of Milan. 


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No. 16. CHRIST BEFORE CATAPHAS 
Attributed to SQUARCIONE 


No. 17. THE CORONATION OF THE VIRGIN 
By BARNABA DA MODENA 


* BARNABA DA MODENA 


A rare master, contemporary of Tommaso da Mo- 
dena. He was known to have been working on the 
frescoes of Saint Ranieri in the Campo Santo in 1380. 


17. THE CORONATION OF THE VIRGIN 


Before a background of superb lapis-lazuli blue, the holy Mother 
is enthroned, robed in a crimson tunic with a flowing mantle of gold. 
She is facing to the right with her arms folded in an attitude of 
supreme devotion, as the Redeemer places the crown upon her head. 
On either side are seraphim and cherubim, and others of the celestial 
hierarchy. Signed, Barnabas da Mutina Pinxit. 


Height, 34 inches; width, 22 inches. 


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FLORENTINE SCHOOL 
XIV CENTURY 


18. MADONNA AND CHILD 


Full-length seated figure of the Virgin Mother with the draped 
Infant, reaching towards the bird perched on His Mother’s arm. 
Above are a graceful seraphim and a cherubim supporting the 


crown. 
Panel: Height, 25% inches; width, 13% inches. 


No. 18. MADONNA AND CHILD 
FLORENTINE SCHOOL 


No. 19. VOTIVE PANEL 
By ANTONIO AQUILIO 


“ANTONIO AQUILIO 
(Called ANTONIAZZO ROMANO) 
1460(?)—1512 


19. VOTIVE PANEL 


The seated figure of our Lord, sparsely draped in an aubergine 
mantle, is appearing from the clouds; at the left stands the Virgin 
Mother, to the right an angel presents the donor, in rich,costume, 
who is kneeling, and by his side, with her hand upon his shoulder, is 
St. Catherine. 

Panel: Height, 21 inches; width, 17 inches. 


CORREGGIO 
(ANTONIO ALLEGRI) 


Born 1494; died 1534. He received his first artistic 
training at the hands of Bianchi-Ferrart of Ferrara, 
and quickly became one of the greatest of painters, a 
master of the art of light and shade and of foreshorten- 
ing. He possessed characteristics in common with 
Raphael, and, more particularly, with Lorenzo Lotto. 


20. MATER AMABILIS 


The Madonna is seated on the ground at the foot of a hillock, 
crowned with trees, gazing lovingly at the Child on her lap. The 
Child has a flower in His right hand, and with the other He grasps 
His Mother’s cloak, as if in fear. A hilly landscape forms the back- 
ground. The picture reveals in its subject, quality of light, and in 
the types of the figures the unmistakable handiwork of Correggio, 
very probably of the middle period of his life (about 1520) ; and 
critics are unanimous in declaring it to be the work of the great 
master. Contemporary frame. 


Panel: Height, 12 inches; width, 8 inches. 
The Collection of the painter, Francesco Montt, called the Bres- 
cianino (Brescia, 1646; Parma, 1712). 
The Collection of the Counts Bertiolt of Parma (purchased by them 
1738). 
The Borromeo Monti Gallery, 1830. 
The Fabrizi Collection, Rome. 


An old etching of this painting exists by Maurizio De Magistris of 
Piacenza captioned “Mater Amabilis.” 


See: Gronau, “Klassiker der Kunst,’ 1907, pages 26, 160, 169; J. 
Meyer, “Correggio,’ Leipzig, 1871, pages 404 and 495; J. 
Meyer, “Allegemeines Kunstler Lexicon,” Leipzig, 1872, pages 
375 and 451; U. Thieme, “Allegemeines Lexicon,” page 464. 


No. 20. MATER AMABILIS 
By CORREGGIO 


No. 21. MADONNA AND CHILD 
By BERNARDINO FUNGAI 


‘ BERNARDINO FUNGAIT 


Sienese, 1460-1516. Fungat 1s one of the Stenese 

painters at the end of the fifteenth century who in his 

works unites delicate coloring and distinction with 
tender sentiment. 


21. MADONNA AND CHILD 


Before a gold background enriched by superb bulino work, the 
holy Mother is portrayed with charming simplicity and fine intona- 
tion of color, in rose-crimson tunic and dark green-blue mantle with 
hood, under which she wears a white veil. The Infant is supported 
in her arms in the attitude of benediction. 


Panel: Height, 241% inches; width, 17% inches. 


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XIV CENTURY 


Julivr Kaas OU 4 MADONNA AND CHILD WITH SAINTS 


ever | The Virgin Mother is seated upon a cushion with the Child in her 

en eee arms, voluminously draped in a deep green and gold-embroidered 

NG Abd ectury mantle, which also forms a covering for the Child. Below are Saints 
| Antonio, John, Francis and Egidio. Gold background. 


Height, 1614 inches; width, 9% inches. 


Note: This rare and very interesting panel is described by the historian Baruffaldi in 
his Vita de Pittori e Scultori Ferrarese, Ferrara, 1846, Vol. II, p. sft. = 


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No. 22, MADONNA AND CHILD WITH SAINTS 


A FERRARA 


By CRISTOFORO D 


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SIENESE: 1306—1348 


23. SAINT MARY MAGDALENE 


The figure is seen kneeling at the mouth of the cave, her body coy- 
ered by her long flowing gold hair; to the left a seraphim is 
appearing, to bestow communion. 


Panel: Height, 27 inches; width, 18% inches. 


SCHOOL OF GIOTTO 
(PRoBABLY GUARIENTO) 
PADUAN: ACTIVE XIV CENTURY 


24. MADONNA AND CHILD WITH ANGELS 


Half-length figure of the holy Mother, robed in a pale crimson tunic 
and green-blue mantle which is folded around the figure and dis- 
plays an ivory lining; on her left arm she holds the divine Infant, 
naively clutching the mantle at His Mother’s neck. At either side, 
in arched formation, is a choir of angels composed of seraphim and 
cherubim, supporting the crimson canopy with devout mien. The 
nimbi are delicately wrought in bulino work. 


Panel: Height, 28% inches; width, 24 inches. 


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No. 24. MADONNA AND CHILD WITH ANGELS 
ScHOOL oF GIOTTO 
(Probably GUARIENTO) 


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UMBRIAN SCHOOL 
FOLLOWER OF PINTURICCHIO 


First HatrF XVI CENTURY H toe 


25. TRIPTYCH 


The tondo portrays the figure of Justice in a green and blue mantle; 
at either side are panels depicting sparsely draped putti bearing 
the symbols. 


Diameter of tondo, 9 inches. Panels: Height, 11 inches; width, § inches. 


‘LORENZO DI NICCOLO DI PIETRO GERINI 
FLORENTINE: XIV-XV CENTURY 


26. MADONNA AND CHILD WITH ANGELS 


The seated Madonna robed in the traditional colors of crimson and 
blue, with the Infant Christ seated upon her lap, fully draped and 
holding a bird with outspread wings. Devout figures of angels 
appear at either side. The orange covering on the Child and the 
nimbi are enriched by exquisite bulino work. In a wonderful state 
of preservation. 

Panel: Height, 36 inches; width, 20 inches. 


No. 26. MADONNA AND CHILD WITH ANGELS 
By LORENZO DI NICCOLO DI PIETRO GERINI 


No. 27. DEPARTURE OF THREE WARRIORS 


FLORENTINE SCHOOL 


(In the Manner of Masaccio) 


FLORENTINE SCHOOL 
IN THE MANNER OF MASACCIO 
1401I—1428 


27. DEPARTURE OF THREE WARRIORS 


On the left is depicted the departure of three mounted warriors, two 
of which are young, the third older and bearded; on the right they 
are seen standing before an altar seeking to obtain an omen as to the 
fortunes of the forthcoming battle. The light in the picture is very 
strong; the luminosity, as well as the types and the sculptural effect 
obtained by means of the chiaroscuro, suggests the style of a pupil 
or collaborator of Masaccio. The decorations and costumes in vogue 
in Florence about the middle of the fifteenth century are beautifully 
portrayed. 

Height, 17% inches; length, 3334 inches. 


Note: This panel, with the three that follow, must have decorated the front of a cassone 
or some other large and rich piece of furniture. 


(Companion to the following) 


FLORENTINE SCHOOL 
IN THE MANNER OF MASACCIO 
1401—1428 


28. A TRIUMPH 


The bearded hero is seated in a chariot drawn by two prancing gray 
steeds; he holds a sword and a book. Armed horsemen surround and 
follow him; war spoils and a group of oxen precede him. The 
background depicts a landscape of grayish hills. 


Height, 174% inches; length, 3234 inches. 


(Companion to the preceding) 


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FLORENTINE SCHOOL 


IN THE MANNER OF MASACCIO 


140I1—1428 


29. A TRIUMPH 


The young hero is seated in a chariot, holding the orb and sceptre. 
The chariot is drawn by two gray steeds, is surrounded and fol- 
lowed by armed horsemen and is preceded by prisoners and cattle. 
The background depicts a landscape of grayish hills. 


Height, 17% inches; length, 3334 inches. 


See note on No. 27. 
een 


No. 31. MADONNA AND CHILD 
By BARTOLOMEO VIVARINI 


BARTOLOMEO VIVARINI 
MURANO: 1430—1499 


31. MADONNA AND CHILD 


Half-length figure of the Virgin Mother, with the seated Child on 
her lap holding a bird. A pleasing and interesting work; the 
face of the Mother is especially charming. In a modern tabernacolo. 


Panel: Height, 29 inches; width, 18 inches. 


SCHOOL OF AVIGNON 
XV CENTURY 


32. THE MOURNING FOR CHRIST 


An intensive and interesting composition in which the figure of the 
Saviour lies emaciated and inert upon a marble sarcophagus. Be- 
hind are grouped, with great forethought and reverence, the holy 
Mother, the two Marys, St. John to the left, and the aged 
Joseph of Arimathea; to the right, in the background, is the head 
of Nicodemus, or maybe that of the donor; on the extreme left a 
distant vista of the hill of Golgotha. The Madonna as the central 
and predominant figure of the composition is robed in a blue-black 
mantle, and wears an opaque-white hood that detracts from the flesh 
of our Lord, which in comparison appears limpid and ashy; Saint 
John in a cloak of vivid and beautiful red; Joseph of Arimathea 
wears an ample garb of brocade and fur. A very important and 
rare work. 


Oak panel (rounded at the two upper corners) : Height, 19 inches; length, 
27% inches. 


The Collection of Rudolph Kahn. 


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No. 32. THE MOURNING FOR CHRIST 
SCHOOL OF AVIGNON 


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(ATTRIBUTED TO) 
1383—1440 


33. MADONNA AND CHILD 


The holy Mother is shown at half-length, facing slightly to the 
right, with an expression of great beauty, wearing a gracefully 
draped hood and mantle; in her arms is the Child Christ fully 
draped in a crimson robe, girdled at the waist and holding a bird. 
His expression of supreme joy naively portrayed. The nimbi are 
exquisitely wrought in bulino work. 


Panel: Height, 27 inches; width, 23 inches. 


Note: This work, by a master of the first half of the XV Century, possesses much of the 
great sentiment and refinement expressed by Masolino in his works, especially revealed by the 
modeling of the Madonna and the formation of her right hand. Compare the Madonna in the 
Bremen Museum. 


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JBERNARDINO DEI CONTI 
Born at Pavia, end of the XV Century. A follower 


of Foppa and Civerchio and an imitator of Leonardo 
da Vinci. Distinguished as a painter of portraits, of 
which some ten have survived. Died the beginning of 


the XVI Century. 


34. PORTRAIT OF A MAN 


In an interior is portrayed a young man, half-length, richly dressed, 
his head turned to the right. He holds in his right hand an open 
letter and a lute in his left. He looks towards a window, on the 
sill of which is an inkstand and a leather case. On the wall of the 
room, in the left-hand top corner, is written: “Si comel vitio—sol 
vita dispe—ra,’ and under the window: “Sol virtu dom—na morte 
orr—ida e acerba.” A third inscription, in the bottom right-hand 
corner, is evidently more of less modern, but probably replaces 
the original one, which should be as follows: “Bernardinus—de Lu- 
vinus—Pinxit—1497.” On the supposition that this inscription comes 
from the original (perhaps the same, with the exception of Comuitis 
instead of Luvinus), the date could be fixed for the picture; in fact 
the other portraits by this painter bear dates close to this one. 


Panel: Height, 28 inches; width, 22 inches. 


See: A. Venturi, “La Galleria Crespi in Milano,’ Milan, Hoepli, 
1900, pages 255-257; G. Morell1, “Della Pittura Italiana,” etc., 
page 194; G. Frizzont, “Archivio Storico dell’Arte”’ (1897), 
page 96; B. Berenson, “North Italian Painters of the Renais- 
sance,” page 198; J. A. Crowe and G. B. Cavalcaselle, “A His- 
tory of Painting in North Italy,’ vol. 2, page 395; U. Thieme, 
“Allegemeines Lexicon,” vol. VII, page 232. 


No. 34. PORTRAIT OF A MAN 
By BERNARDINO DEI CONTI 


No. 35. THE FRIGHT INTO EGY ea 
By GIULIO CAMPI 


/GIULIO CAMPI 


Worked principally at Cremona, where he was born, 
1500, and died 1572. He emulated the Venetian 
painters chiefly. 


35. THE FLIGHT INTO EGYPT 


The Madonna, seated upon the ass, is much concerned with the 
Child, Who clings lovingly to her breast, while the angel who pre- 
cedes them turns his head towards the miraculous apparition of two 
angels emerging from the trees to offer fruits to the Child. St. 
Joseph, too, who is following, is arrested by the vision. In the dis- 
tant landscape, to the left, are seen arches and ruins. 


Height, 30 inches; width, 24 inches. 


Note: A very beautiful painting, with extraordinary lighting effects, which led to its having 
been formerly attributed (from the point of view of excellence, not of style) to Lorenzo Lotto. 
Well preserved. 


See: Marcel Nicolle, “La Galerie Crespi,’ Catalogue, ed. Georges 
Petit, Paris, 1914, page 17; B. Berenson, “North Italian Paint- 
ers of the Renaissance,’ page 187; Engraving by Cornelis Cort, 
1571; Photograph by Anderson, No. 3491. 


‘ROGIER VAN DER WEYDEN 


Born 1397-1400 at Tournay; died at Brussels 1473. 
Pupil, or rather co-worker with Robert Campin. He 
visited Italy about 1449. 


30. THE HOLY FAMILY IN A LANDSCAPE; THE 
DONOR IN ADORATION ACCOMPANIED AND 
PRESENTED BY HIS PATRON SAINT, ST. PAUL 


The holy Virgin, dressed in a gown of soft scarlet, holds the nude 
Child on her knees; He is embracing a large wooden cross, which 
is held upright by a flying angel visible on high in a bluish vapor. 
The donor is forcefully depicted ; he wears a robe of very dark green, 
edged with narrow gray fur, and in his clasped hands he holds a 
pair of red gloves, the sign of his nobility. St. Paul is wrapped in a 
large violet cloak. Behind is the Mother of God, and to her left. 
St. Joseph sits, asleep, dressed in pale blue and mauve garments. 
This inactive figure belongs almost to the background, remarkable 
for its quiet and very interesting mountain scenery. The arrange- 
ment directs the attention of the spectator mystically toward the 
main figures on both sides of the cross. Diagonal old parquetry 
panel; interesting old frame. (The canvas has been restored at an 
early date, and would be greatly improved by further restorations. ) 


Oak panel: Height, 23 inches; width, 18% inches. 
The Collection. Guicciardi, Milan. 


See: A. Venturi, “La Galleria Crespi,’ page 289-290 (reproduc- 
tion) ; Baedeker, “Northern Italy” (1908), page 103; Hooge- 
werff, “Mededeelingen van het Nederl. Histor. Instituut te 
Rome,” IT (1923), page 132 (with reproduction) ; Friedlander, 
“Altniederlandische Maleret, II’ (1924) page 104, “excellent 
original of about 1460,” with reproduction; Marcelle Nicolle, 
“La Galerie Crespi,” Catalogue, ed. Georges Petit, Paris, 1914, 
No. 96, with reproduction. 


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No. 36. THE HOLY FAMILY IN A LANDSCAPE 
By ROGIER VAN DER WEYDEN 


No. 37. MADONNA AND CHILD 


Workshop of FRA ANGELICO 


WORKSHOP OF FRA ANGELICO 
(1387—1455) 


37. MADONNA AND CHILD 


A fervent rendering of the Madonna in voluminous robes and 
ethereal veiling, seated upon a cushion with her head slightly in- 
clined towards the Infant Christ, Whom she supports with her left 
hand while in her right she holds a lily. Angels in the bloom of 
adolescence, amply draped in classical tunics, stand on either side 
in attitudes of adoration. The coloring and other characteristics 
are undoubtedly those of Angelico, though the forms, and expres- 
sion to a certain extent, lack the complete mysticism and sanctity 
of Fra Angelico. ‘There is no doubt that the painting came from 
his workshop, and it is believed some of the workmanship is that of 
his pupil Andrea di Giusto. In carved and gilded tabernacolo 


frame of the period. 
Panel: Height, 32 inches; width, 22 inches. 


BERNARDO DA PARENZO 
(CALLED PARENTINO) 


1437—1531 


38. FRONT PANEL OF A CASSONE 


Depicting two scenes from the story of the Emperor Trajan as de- 
scribed by Dante. The left shows the widow approaching the Em- 
peror, mounted on a gray charger, demanding justice for her son; 
to the right the Emperor is seated granting justice. Decorated in 
pastiglia with central escutcheon, flanked by eagles. (Slight res- 
toration. ) 

Panel: Height, 31% inches; width, 19 inches. 


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FLORENTINE: XIV CENTURY m, 


39. MADONNA AND CHILD 


Full-length figure of the Virgin Mother, with the Child nursing at 
her breast. Fine color and of ingenuous expression. In a good state 
of preservation. 

Panel: Height, 39 inches; width, 19 inches. 


Note: Vhis master is known by his Madonna in the “Comunale of Prato.” 


» 


¢ LORENZO DI CREDI 
(1459—1537) 


Follower and collaborator, both as a painter and a 
sculptor, of Andrea del Verrocchio. 


40. MADONNA AND CHILD 


The Madonna is seated, seen nearly full face. She holds the Child 
on her right; beyond the parapet a landscape. In original taber- 
nacolo frame, of gilt and painted wood. In the “shield” is repro- 
duced the coat of arms of the Rucellai family. (Slight restora- 
tion. ) 

Panel: Height, 24 inches; width, 17 inches. 


Formerly in a villa in the neighborhood of San Romano, in the province of Pisa. 


From the Fairfax Murray Collection. 


NA-AN DS CHILD 


. MADON 
By LORENZO DI CREDI 


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(SO CALLED BY PERKINS) 


This artist 1s mentioned by Vasari as being active dur- 
ing 1351, but the actual dates of his birth and death 


are unknown. Undoubtedly he was influenced by iT 


Giotto. 


41. TRIPTYCH: MADONNA, CHILD AND SAINTS 


In the central panel is shown the enthroned Madonna, against a 
crimson drapery, with the Child; the holy Mother is robed in the 
traditional crimson tunic, but with a green hood and mantle; on 
either side are Saints Lucia and Marguerite; Saints Mary Mag- 
dalene and Catherine. In the left panel, the Archangel Michael is 
in combat with the dragon, in the right is the Crucifixion, with the 
desolate figures of the blessed Virgin and St. John; below are six 
saints, Augustine, Peter and Francis; St. Bernardo, and two uniden- 
tified saints. In original tabernacolo frame. 


Central panel: Height, 29 inches; width, 17 inches; Side panels: Height, 
29 inches; width, 9 inches. 


9 x 
FLORENTINE SCHOOL «> 
XV-XVI CENTURY 


42. MADONNA AND CHILD 


The Madonna is enthroned in an architectural niche, hooded and 
robed in a crimson tunic and a Botticelli-green mantle with the in- 
fant Saviour partly draped and standing at her right side; in her 
left hand she holds a missal. In contemporary arched frame. 


Panel: Height, 33 inches; width, 20 inches. 


No. 42. MADONNA AND CHILD 
FLORENTINE SCHOOL 
(XV-XVI Century) 


No. 43. THE. CRESPI MADONNA 
Attributed to MICHELANGELO BUONARROTI 


MICHELANGELO BUONARROTI 
(ATTRIBUTED TO) 


1475—1 564. 


43. THE CRESPI MADONNA 


Half-length figure of the Virgin, seen in profile, the head turned to 
the left. She holds in her arms the Child, Who, laughing, is turned 
a little to the right, and clings to her neck with His left hand; with 
His right He clasps the right hand of His Mother. The background 
consists of a mountainous landscape. ‘The grandeur, be it of the 
group as a whole, or of each separate figure, is truly Michelangel- 
esque, and the types are absolutely his. Some participation on the 
part of the master is beyond doubt, at least in the sketch of the paint- 
ing. All the easel works, except the tondo of the Holy Family in 
the Uffizi, which are attributed to Michelangelo, are disputable. In 
this Crespi Madonna are seen the same probabilities as in the exam- 
ple in the London National Gallery and that at Dublin, and there- 
fore, equally, they should be attributed with the same hesitation. 

A proof that the painting cannot be exclusively the work of 
pupils lies in the fact that there is apparent in the profile, the drap- 
ery, the attitude and other details of the Madonna, a clear derivation 
of the Pazzi Madonna of Donatello, which is in the Kaiser Fried- 
rich Museum at Berlin. Michelangelo, as a young man, came 
under the influence of Donatello, whereas an imitator of Michel- 
angelo would, by this time, have been free from the possibility of 


such influence. 
Panel: Height, 33 inches; width, 24 inches. 


See: F. Knapp, “Michelangelo (Des Meisterwerke),” Leipzig, 
1907, page 148; Joanne’s Guide; Baedeker, Milano, Frizzont, 
“Les Arts,’ 1904, No. 29, p. 31-323; “Collection des Classtques 
de l’Art Michelange,”’ Paris, 1909. 


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MIDDLE OF THE XV CENTURY 


44. DESCO DA PARTO: SOLOMON’S JUDGMENT 


In an architectural niche, flanked by stately fifteenth century man- 
sions, Solomon is enthroned pronouncing judgment. The two moth- 
ers are in the centre, kneeling, and before them a soldier holds the 
child; around, are gorgeously arrayed personages. On the reverse 
side is depicted HOPE between winged putti supporting the armorial 
bearings of the family to whom the desco is presented. 


Twelve-sided panel: Diameter, 30 inches. 


Note: These trays were ordered on the occasion of a birth in the great Florentine families. 
This example is in a fine state of preservation. 


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No. 44. DESCO DA PARTO: SOLOMON’S JUDGMENT 
(Obverse and reverse) 
By a FLORENTINE MASTER 
(Unidentified ) 


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No. 45. THE CRUCIFIXION 
Attributed to BERNARDINO LUINI 


‘BERNARDINO LUINI 
(ATTRIBUTED TO) 
1475-—1532 


45. THE CRUCIFIXION 


Our Lord is seen on the cross, nude save for a loin-cloth, with a 
thickly wooded landscape background through which the mounted 
Roman soldiery are retiring to their turreted battlements. At the 
foot of the cross, Mary Magdalene kneels with an expression of 
intense agony, with the pathetic figure of the Virgin Mother by her, 
and the other more historically treated figures of St. Paul with sword 
reversed, St. John, as a youthful figure, and St. Francis. 


Height, 37 inches; width, 29 inches. 


Note: This important work is veiled in a gossamer web of chiaroscuro as used for the 
modeling of form by the contrast of light, much after the manner of da Vinci. The impressive- 
ness of the crucified figure limpid and ashy in its whiteness is most effective. Professor Venturi 
has stated that this picture is an earlier work than the replica in the Hermitage at St. Peters- 
burg, and is of finer quality. 


Reproduced in “Luini”’ by L. Beltrami, page 468; Photograph No. 
3477, by Anderson. 


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Born at Venice in 1480; died at Loreto, 1556. 


40. THE HOLY FAMILY 


The Virgin, seen at half-length, is seated, clasping the Child lovingly 
to her. The Child, while turned away from His Mother, caresses her 
with His right hand. Behind, on the right, is seen the thoughtful head 
of St. Joseph; on the left, the head of an angel. The whole canvas is 
filled by the group. The figures, turned either toward the left or 
the right, lean at an almost violent angle; the characteristics of 
Lotto’s grouping are all similar. The picture is signed in the top 
right hand corner, L. Lotus; MDXII. It was painted for the 
chapel of the Tadini Palace at Romano Lombardo, Bergamo. In 
a beautiful frame of the period. (There are slight restorations 
which in no wise affect the beauty of the painting.) 


Height, 29 inches; width, 25 inches. 


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See: Joanne’s “Guide”, and Baedeker. 


No. 46. THE HOLY FAMILY 
By LORENZO LOTTO 


No. 47. SALOME 
By ANDREA SOLARIO 


ANDREA SOLARIO 


CIRCA 1460—1530 


47. SALOME 


On the left, the executioner is in the act of placing the head of St. 
John the Baptist on the charger, which he offers to Salome. Behind 
is Herod’s wife. In the background the king’s banquet is glimpsed 
through an opening. 

The picture can be compared with the portrait of a woman play- 
ing the lute, at one time in the Hertz Collection and now in the 
Palazzo Venezia at Rome, and other portraits by Andrea Solario. 
In an excellent state of preservation. 


Panel: Height, 25 inches; length, 30 inches. 


The Fairfax Murray Collection. 


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‘PIETRO LORENZETTI 
SIENESE: 1306—1348 


48. TRIPTYCH: MADONNA, CHILD AND SAINTS 


The central panel depicts the half-length figure of the Madonna 
hooded and robed in a superb fluctuating blue mantle with a gold- 
embroidered star at her right shoulder; the Child, half draped with 
a crimson cloth, is nestling against His Mother. ‘The left panel 
depicts St. Paul richly robed in a green tunic and aubergine mantle, 
bearing a sheathed sword; the right panel, St. Peter in a tunic of a 
more brilliant green, and an old-gold mantle, with the keys and 
papal ring. In the arches above are the Redeemer, St. Mary Mag- 
dalene and St. Michael. The background is of gold. In the orig- 
inal tabernacolo. 

Height, 5134 inches; width, 50 inches. 


Catalogued by the Italian Government, May 27, 1922. 


2 _— “4 +o. 


No. 48. TRIPTYCH 
By PIETRO LORENZETTI 


No. 49. SACRA CONVERSAZIONE 
By FRA BARTOLOMEO DELLA PORTA 
in collaboration with MARIOTTO ALBERTINELLI 


FRA BARTOLOMEO DELLA PORTA 
IN COLLABORATION WITH 
MARIOTTO ALBERTINELLI 


Fra Bartolomeo (1472-1517) worked from 1592 to 
1512 almost uninterruptedly with Mariotto Alberti- 
nelli, in the convent of St. Mark at Florence. This ts 
the period that ts called “of the School of St. Mark.” 


49. SACRA CONVERSAZIONE 


The Madonna is seated on a throne in the centre, with the Child; 
on the right the youthful St. John approaches the Child, led by an 
angel; on the left, turned towards the Virgin, in an attitude of devo- 
tion, is St. Dominic, attended by two angels. Landscape back- 
ground. 

The skill displayed in the composition, the admirable head of 
St. Dominic and the alertness of the figure of St. John, recall very 
strongly the style of Fra Bartolomeo. On the other hand, as it 
is impossible to attribute every detail to the hand of Bartolomeo, 
one must place it in that period in which Albertinelli collaborated 
with him. In a good state of preservation. 


Tondo: Diameter, 46 inches. 


The Fairfax Murray Collection. 


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~ANTONELLO DA MESSINA 
1430 (?°)—1479 
50. ENERGETIC PORTRAIT OF A SICILIAN 
PATRICIAN IN ECCLESIASTICAL COSTUME 


A bust portrait, holding the votive model of a church, half of which 
is seen at lower left of the picture. 
Senator Adolfo Venturi in 1920 expressed himself critically in 


an article devoted to this painting and published in the bi-annual renal 


periodical Arte of 1921—March to June, and republished in 1923, 
as follows: “A sudden brilliance, as in the Virgin with a Book at 
Palermo, lights the face of ie Sicilian, who holds in his un- 
seen hand the votive model of a church; the breast-wall cuts the 


.. figure at bust length, according to the usual composition of the por- 


traits of Antonello; the head, not painted with the easy foreshorten- 
ing of the Condottiero of the Louvre or of the Old Man of the Casa 
Trivulzio, retains the cylindrical form found in the portraits in Lon- 
don and Berlin, but the forceful and almost violent partition of the 
light and shade, a new and potent means of plastic definition, marks 
a similarity with the portrait of the Condottiero and affords the 
certainty that the work is of his first Venetian period, that is to say 
of the years in which the Messina family undertook at Venice the 
lost pala of San Cassiano.” 


Note: The picture is illustrated in Arte, Adolfo Venturi, “Per Antonello da Messina,” 
Rome, 1921, and also in Arte, Rome, 1923. 


Panel: Height, 16 inches; width, 13 inches. 


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No. 50. ENERGETIC PORTRAIT OF A SICILIAN PATRICIAN IN 
ECCLESIASTICAL COSTUME 
By ANTONELLO DA MESSINA 


No. 51. PORTRAIT, OF THE POET =MELDOLEDS 
By LORENZO LOTTO 


LORENZO LOTTO : 


Venetian; born at Bergamo 1480 (?)3; died 1556. o 
Considered one of the great portrait painters. 


51. PORTRAIT OF THE POET MELDOLLA 


Erect figure in an architectural setting, robed in the green-black 
tocco of his calling with a fur stole, and resting his arm against the 
plinth of the two marble columns; in his right hand he holds a laurel 
wreath. To the left is seen an attendant female figure draped in 
crimson and gold supporting an amphora upon her head. 


Note: The Italian Government catalogued this work as of great national interest. The 
pigment has been transferred from panel to canvas. 


Panel: Height, 53 inches; width, 45 inches. 


‘en A d Vi son § Own itt Crk. , aA usila. 


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AGNOLO GADDI 
FLORENTINE: 1335 (?)—1396 


52. PAINTING ON PANEL: MADONNA AND CHILD 


Upon a gold background is superimposed a draped canopy of a deep 
sealing-wax red, the minute design in gold bulino work, as a setting 
to the magnificent life-size rendering of the Madonna and Child. 
The blessed Virgin is seated, hooded and robed in a fluctuating blue, 
her embroidered mantle lined with green; the Child on her arm 
clothed in a mauve robe, and in the hieratic attitude of benediction, 
with a bird perched upon His left hand. At her feet is an adoring 
choir of angels composed of robed cherubim and seraphim, the tones 
yf which reveal a masterly composition of color. The canopy is 
also supported by angels draped in gold, their profiles of classic con- 
tour. Above are two voluminously robed angels supporting the 
crown as a symbol of sovereignty. Each figure is crowned by an 
aureole. (Tabernacolo restored.) 


Height, 7 feet 2 inches; width, 3 feet 9 inches. 


Catalogued by the Italian Government as a work of national impor- 
tance January 17, 1918. 


Formerly in the Villa of Cav. Masi a Capannoli (Toscana). ©. Ya 


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No. 52. PAINTING ON PANEL: MADONNA AND CHILD 
By AGNOLO GADDI 


IddFd OdaF NAA 6 
IVITAONA VIVd “€& “ON 


BERNARDO DADDI 
FLORENTINE: First HALF oF XIV CENTURY 


53. PALA RUCELLAI 


In five segmental panels: The central panel depicts the Madonna and 
Child; the Blessed Virgin, hooded and robed in a green gold tunic, 
with an indigo-blue mantle, in her arms the fully robed Child in an 
attitude of infinite tenderness. ‘The side panels from left to right de- 
pict, St. Francis of Assisi with tonsured head, robed in the olive- 
green habit, and bearing a crimson bound missal; St. John in purple- 
crimson, the Archangel Michael in aubergine tunic, and a green 
cope fastened by a clasp, and carrying the unsheathed sword; St. 
Bernard in the black habit with hood, and an open missal. In the 
cusped arches are the four evangelists, and above six winged sera- 
phim heads. The seraphim heads are a later addition of the fif- 
teenth century; probably to give the effect of a square top and can 
be easily removed. Gold background. 


Height, 4 feet 1 inch; length, 8 feet 5 inches. 


Note: The pala is from the Capella Rucellai in the church of San Pancrazio a Firenze, 
and in Italy is known as the “Pala Rucellai.” Classified by the Italian Government April 6, 
1918. 


Q} 


“ANDREA ORCAGNA 
FLORENTINE: 1308 (?)—1368 


54. LARGE PALA REPRESENTING THE LEGEND OF 
ST. JOHN THE BAPTIST 


In the central panel is an outstanding erect full-face figure of John 
the Baptist, holding in his right hand a scroll inscribed: Ego vox cla- 
mantis in deserto, and in his left hand a cross. At his feet lies Herod, 
who, turning towards the saint, proclaims his virtues: Nos insensati 
vitam illorum extimabus insaniam, etc. 

In the spandrels are seraphim and in the side panels and the 
base, from the top to the bottom and from left to right, are various 
scenes from the life of the saint in the following order: 


1. THE ANNOUNCEMENT OF THE ANGEL TO ZACHARIAH. 
In the interior of a temple before an altar the angel is making 
the announcement of his impending fatherhood to Zachariah, 
who, in the act of prayer, is swinging a censer. 

11. THE VISITATION. Mary, followed by a handmaiden, 
visits St. Elizabeth, who greets her, prostrating herself before 
her, 

iI. ‘THE BIRTH OF JOHN. In the bedchamber the mother, 
in bed, is assisted by a handmaiden, in the foreground; two other 
handmaidens attend the child, while a fourth is receiving gifts 
from an old woman. 

Iv. THE CHRISTENING. The four handmaidens in a group 
are presenting the babe to the priest, 7G names him John (“Jo- 
hannes est nomen eius’’). 

Vv. JOURNEY IN THE DESERT. The young John, in sandals, 
with his garment of camel’s hair, departs into the desert. 

VI. PREACHING THE GOSPEL. St. John presents Christ to a 
crowd of listeners. 

[ Continued 


JOHN 


No. 54. LARGE PALA REPRESENTING THE LEGEND OF ST 


E BAPTIST 


AGes 
By ANDREA ORCAGNA 


No. 54. CONCLUDED 


vil. THE BAPTISM OF CuRIsT. On the right Christ is being 
baptized by St. John in the river Jordan, and two angels on 
the bank to the left, kneel holding an outspread cloth. 

vill. HeRop’s Feast. The king and his guests at table ad- 
mire Salome, who is dancing. 

Ix. THE MARTYRDOM OF ST. JOHN. Kneeling at the prison 
door is the saint, who is being beheaded. 

X. THE PRESENTATION OF THE HEAD OF THE BAPTIST. 
Salome, kneeling, presents to Herod the head of the saint on a 
charger. 

XI. CHRIST IN LimMgo, (Base portion.) Christ, carrying 
the banner of victory at the threshold of Limbo, to free the 
souls; the third in the group is the Baptist. 


Height (central part), 42 inches; length, 87 inches. 


This notable masterpiece, certainly one of the most wonderful productions of primitive 
Italian art, is remarkable for its originality and vigor of expression, combined with the most 
delicate grace of form, and in contemplating its beautiful and enamel-like finish, one does not 
know which to admire more—its brightness and perfect blending of colors, or its unique state 
of preservation. 


The Fairfax Murray Collection. 


FILIPPINO LIPPI 


Born at Prato about 1457, the son of Filippo Lippi; 
died at Florence, 1504. Huis art developed under the 
guidance of hts father; he also came under the in- 
fluence of Cosimo and to a great extent of Botticellt. 


55. LEGEND OF PERSEUS 


Among the many episodes in the life of the hero there are here de- 
picted: On the left, Zeus conquers with golden rain, and Danaé, 
who bears Perseus—mother and son are placed in a boat. In the 
centre, King Polydictus, who cares for Danaé and Perseus when 
they are cast by a storm on to the island of Seriphos, the same king 
sending Perseus, now a grown man, on his expedition against the 
Gorgons. On the right Perseus is seen, who, with the winged san- 
dals of Hermes, the shield of Athena and the helm of Hades, suc- 
ceeds in his quest and cuts off the head of Medusa, from whose body 
rises Pegasus and who is seen flying above. 


Panel: Height, 20 inches; length, 65 inches. 


Note: The rather accentuated movement in the figures, the generally dark tone of the 
coloring, would place the execution in the period of Filippino’s frescoes at Santa Maria Sopra 
Minerva at Rome, and that agrees with the date 1492, on one of the two panels. In an excellent 
state of preservation; evidently the front of a coffer or espalier. 


(Companion to the following) 


CMan isn, 1e-$7, 


¥ 


(Schoek o} Ai Cosimo.) 


No. 55. LEGEND OF PERSEUS 
By @FILIPPINOVEIPPI 


No. 56. LEGEND OF PERSEUS 
By FILIPPINGELIZPE 


FILIPPINO LIPPI 


Born at Prato about 1457, the son of Filippo Lippi; 
died at Florence 1504. H1s art developed under the 
guidance of his father; he also came under the in- 
fluence of Cosimo and to a great extent of Botticellt. 


560. LEGEND OF PERSEUS 


From left to right across the canvas, the legend of the hero is de- 
veloped: ; 

(1) Perseus, armed, goes to Atlanta, who, having denied him 
hospitality, is turned to stone by the head of Medusa; (11) Perseus, 
helped by Pegasus, goes into the garden of the Hesperides, the 
nephews of Atlanta, and steals the golden apples; (111) Perseus 

fights Rhineus and his followers and obtains a victory by petrifying 
his enemies with the head of Medusa. 


Panel: Height, 20 inches; length, 65 inches. 


(Companion to the preceding) (-v 


“ PALMA IL VECCHIO 
Born at Venice 1480. Died 1528. 


57. THE RISEN CHRIST 


Christ, standing and facing front, nude except for a flowing loin- 
cloth, holds in His left hand the banner of victory decorated with 
the cross, His right hand apparently pointing and his gaze turned to 
heaven. Landscape background, with trees to the left and a lake 
on the right. This picture is, in the nobility of its conception and 
beauty of line, a true ee 


_ Panel: ees 52 inches; width, 32 inches, 


In the Gallery of the Aethdake DO ae and Der Juan 


of Austria in the seventeenth century. 


+3 


See: Frizzont, “Rassegna d’Arte,” 1906, page 116: “New Revela- 
tions concerning Jacopo Palma il Vecchio,” Arte, 1911, page 
41; “I Polittict Palmeschi,” Crowe and G. B. Cavalcaselle, “A 
History of Painting in North Italy,” vol. III, page 387; Men- 
tioned in Baedeker; Etching of R. Einhoudets in “Le Théatre 
des Peintures de David Teniers . . . peintre et aide de chambre 
des sérénissimes princes Léopold Guil. Archiduc et Don 


Jean d’Autriche,” Bruxelles, 1660; Planche 174. 


No. 57. THE RISEN CHRIST 
By PALMA IL VECCHIO | 


No. 58. MADONNA AND CHILD 
By JACOPO DEL SELLAIO 


JACOPO DEL SELLAIO < 


FLORENTINE: 1442—1493 


58. MADONNA AND CHILD 


The half-length figure of the Madonna is represented with the Child 
nestling closely to her, with all the grace and in the very decorative 
manner of this master. In beautiful luminous colors. 


Panel: Height, 32 inches; width, 19 inches. 


Note: This master conducted with Filippo di Giuliano a bottega at San Miniato. 


Lh BL. Pod eh 


2 aA 2, 
(Are FE Lang 7 he @ 


WORKSHOP OF THE VIVARINI 


VENICE: XV CENTURY 


59. POLYPTYCH 


The central panel portrays the full-length figure of the girdled Ma-. 
donna, within the mandorla, supported by angels; at her feet are 
St. Thomas and four donors in devout attitude. The side panels 
depict SS. Antonio Abate, Agostino, Monica, Agostino Novello and 
another, unidentified. 


Central panel: Height, 54 inches; width, 44 inches; side panels: Height, 
54 inches; width, 24 inches. 


Note: The depiction of the Saints Agostiniani shows that this work was most probably 
executed either for a church or monastery of this Order. The work is indisputably from the 
workshop of the Vivarini and shows the predominant characteristics of -Alvise, in the boldness 
of design and the sculptural realism. 


!) 


PTYCH (Central Pane 
Workshop of the VIVARINI 


7 


POLY 


No. 59. 


(Right Panel) 


. 


- 39 


No 


(Left Panel) 


59 


No, 


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LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


CATAL EY 
ANTONELLO DA MESSINA 


Energetic Portrait of a Sicilian Patrician in Ecclesias- 
tical Costume 50 


AQUILIO, ANTONIO (Called ANTONIAZZO ROMANO) 
Votive Panel 19 


AVIGNON, SCHOOL OF 
The Mourning for Christ 32 


BARNABA DA MODENA 
The Coronation of the Virgin se 


BOLOGNA, SIMONE DA 
The Crucifixion II 


BONAGUIDA, PACINI DI 
Madonna and Child 39 


CAMPI, GIULIO 
The Flight into Egypt 35 


CAPORALI, BARTOLOMEO 
Madonna and Child 14 


CORREGGIO (ANTONIO ALLEGRI) 
Mater Amabilis 20 


CREDI, LORENZO DI 
Madonna and Child , 40 


CRISTOFORO DA FERRARA 
Madonna and Child with Saints | 22 


DADDI, BERNARDO 
Pala Rucellai 


DEI CONTI, BERNARDINO 
Portrait of a Man 


DELLA QUERCIA, PRIAMO 
Madonna and Child 


D’OGGIONO, Marco 
St. Stephen and St. Bonaventura (Two Panels) 


FLORENTINE MASTER (UNIDENTIFIED) 
Desco da Parto: Solomon’s Judgment 


FLORENTINE SCHOOL 
A Triumph 
A Triumph 
A Triumph 
Departure of Three Warriors 
Madonna and Child 
Madonna and Child 
Madonna and Child 
Madonna and Child with Saints 


FRA ANGELICO, WorksHop OF 
Madonna and Child 


FRA BARTOLOMEO DELLA PORTA 
in Collaboration with 


MARIOTTO ALBERTINELLI 
Sacra Conversazione 


FUNGAI, BERNARDINO 
Madonna and Child 


CATALOGUE 
NUMBER 


53 


34 


37 


49 


2! 


CATALOGUE 
NUMBER 


GADDI, AGNOLO 


Painting on Panel: Madonna and Child 52 
GERINI, LORENZo DiI NICCOLO DI PIETRO 

Madonna and Child with Angels 26 
GIOTTO, ScHooL oF (Probably GUARIENTO) 

Madonna and Child with Angels 24 
LIPPI, FILIPPINO 

Legend of Perseus is 

Legend of Perseus 56 
LORENZETTI, PIETRO 

Saint Mary Magdalene 2 

The Crucifixion : 12 

Triptych: Madonna, Child and Saints 48 
LOTTO, LORENZO 

Portrait of the Poet Meldolla SI 

The Holy Family 46 
LUINI, BERNARDINO (Attributed to) 

The Crucifixion 45 
MARIESCHI, MICHELE 

Landscape 3 

Landscape 4 


MASOLINO DA PANICALE 
Madonna and Child 33 


“MASTER OF ST. CECILIA” (So CALLED BY PERKINS) 
Triptych: Madonna, Child and Saints Al 


“auc 
MICHELANGELO (BUONARROTI) (Attributed to) 
The Crespi Madonna 43 


ORCAGNA, ANDREA 
Large Pala Representing the Legend of St. John 


the Baptist 54 
PALMA IL VECCHIO 
The Risen Christ 57 
PARENZO, BERNARDO DA (Called PARENTINO) 
Front Panel of a Cassone 38 
Historical Subject 8 


PONTE, GIOVANNI DAL 
Madonna and Child with Saints 9 


PREVITALI, ANDREA 
A Holy Bishop (Saint Augustine?) 2 


SAN SEVERINO, LORENZO DA 
Triptych: Virgin and Child 13 


SELLAIO, JACOPO DEL 
Madonna and Child 58 


SOLARIO, ANDREA 
Salome 47 


SQUARCIONE (Attributed to) 
Christ Before Caiaphas 16 


UMBRIAN SCHOOL (FOLLOWER oF PINTURICCHIO) - 
Triptych 25 


-greo 
“se 


; _ VAN DER WEYDEN, Roairr 
tte | The Holy Family in a Landscape 


VENETIAN SCHOOL 
~ Enthroned Madonna 


_ VIVARINI, BARTOLOMEO 
Madonna and Child 

4 meta. “- 

id _ VIVARIN I, WorKSHOP OF THE 

Sees. Polyptych 


CATALOGUE 
- NUMBER 


36 


10 


59 


COMPOSITION, PRESSWORK 
AND BINDING BY 


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